AMERICAN SCHOOL TOYS 
















Class TS& aoi- 

Book_ ZB. K.Z _ 

Copyright N° _ 


CQPXRSGCT DEPOSIT. 

































" 
















■ 


■ 






















































- t 




% * 

































AMERICAN SCHOOL TOYS 

AND USEFUL NOVELTIES IN WOOD 


By 

CHARLES A. KUNOU 
Supervisor of Manual Training 
LOS ANGELES, CALIF. 



THE BRUCE PUBLISHING COMPANY 

MILWAUKEE, WISCONSIN 





Copyright, 1920 

The Bruce Publishing Company 



MAY -6 ia2U 






©CI.A570770 


Dedicated to 


Dr. James P. Haney 


TABLE OF 


Introductory Notes .. 5-6 

American School Toys—Educational Influence—The Bazaar 
Idea—In What Grade Taught—Americanization of Toys— 
Originality—Purpose of Teaching—Types of Toys—How to 
Pick Motifs—Fitting the Design to the Material—Transfer¬ 
ring Patterns to Wood—Cutting Toys—Making Bases—As¬ 
sembling—Painting—Coloring—Enameling — Mass and Dot 
Painting—Other Methods of Coloring and Finishing Toys— 


Color Schemes—How to Make Tints .7-16 

DESIGNS FOR TOYS— 

Plate 1: Position of Boy in Using Coping Saw . 10 

Plate 2: Simple Bases for Toys . 19 

Plate 3: Complex Bases for Toys . 20 

Plate 4: Horse . 21 

Plate 5: Tiger . . . 22 

Plate 6: Tiger . 23 

Plate 7: Mountain Goat . 24 

Plate 8: Mountain Goat . 25 

Plate 9: Dog . 26 

Plate 10: Clown . 27 

Plate 11: Assembly of Clown and Chicken on Wheels . 28 

Plate 12: Ostrich . 29 

Plate 13: Indian . 30 

Plate 14: Toy Bed Stead . 31 

Plate 15: Toy Chair . 32 

Plate 16: Toy Rocker . 33 

Plate 17: Toy Table . 34 

Plate 18: Soldier and Red Cross Nurse . 35 

Plate 19: Rocking Cat and Pig . 36 

Plate 20: Rocking Hen and Rooster . 37 

Plate 20: Swan Rocker . 38 

Plate 21: Swan Rocker . 39 


CONTENTS 

Plate 21: Duck Cart . 40 

Plate 22: Horse . 41 

Plate 23: Bear on Wheels . 42 

Plate 24: Elephant on Wheels . 43 

Plate 25: Swan Cart . 44 

Plate 26: Chicken Cart . 45 

Plate 27: Bear Cart . . 46 

Plate 28: Swan on Wheels . 47 

Plate 29 : Cart . 48 

Plate 30 : Lion on Wheels . . 49 

Plate 31 : Express Wagon. .. „.. .. 50 

Plate 32: Automobile . 51 

Plate 33: Hobby Horse . 52 

Plate 34 : Locomotive . 53 

Plate 35: Traveling Tumbling Clown . 54 

Plate 36: Tumbling Clown . 55 

Plate 37 : Camel . 56 

Plate 38: Dog . 57 

Plate 39: Duck Paper Weight . 58 

Plate 40: PaperWeights . 59 

Plate 41: Policeman Candle Holder . 60 

Plate 42: Clown Sconce . 61 

Plate 43: Turkey Paper Weight . 62 

Plate 44: Cat Paper Weight . 63 

Plate 45: Candle Holder or Flag Staff . 64 

Plate 46: Savings Bank . 65 

Plate 47: Savings Bank . 66 

Plate 48: Flag Staff . 67 

Plate 49: Flag Staff . 68 

Plate 50: Spool and Scissors Holder . 69 

Plate 51: Detail of Scissors Holder . 70 

Plate 52: Match Stands . 71 


























































INTRODUCTORY NOTES 


Statement by the Superintendent 
of Schools: 

Immediately after the declaration of war in 1917 the various 
heads of departments and principals of the Los Angeles schools met 
in conference with the Superintendent to make such reorganization 
in curriculum and administration as seemed necessary to meet the 
new conditions. It was recognized that the schools should hot in 
any way cease their normal function of educating the children, but 
rather that these new adjustments might provide an education more 
interesting and more significant. 

Those who followed the relation of education in city school sys¬ 
tems to the demands of war are familiar with the work done by the 
schools. The members of the supervisory and teaching force have 
since expressed a decided opinion that the changes then made in the 
school organization redounded greatly to the benefit of the pupils. 
A new motive to instruction was provided. The novelty of the de¬ 
mands created extraordinary initiative among the learners. The pu~ 
pils of the public schools were conscious that they were not merely 
spectators of the war, but sharers therein, that they had become con¬ 
tributors to their country’s welfare. 

The work of the Manual Training Department attracted much 
favorable notice. The problem set before the mind of the pupil was 
the planning and construction of some project which he was to 
fashion after his own idea and which he was then to turn over for 
sale, the proceeds to be devoted to the Junior Red Cross. No attempt 
was to be made at multiplying the same product by individual chil¬ 
dren. The shops also did a great deal of what may be termed “fac¬ 
tory work” in supplying material for camps, hospitals, etc., on urgent 
demand. But, the projects discussed in this report were differently 
conceived. The endeavor always was to have the work made by each 
pupil follow the traditions of good craftsmanship. The thing he made 
was to be his own creation, both in design and construction. 

The most popular activity among the younger children was the 
making of toys. Their introduction made a distinct sensation in the 
shops. The School Department was able to maintain one center of 


its own which was visited by many citizens of Los Angeles who 
bought generously. The exhibits of the schools in this and other 
places were not confined to toys, but toys constituted the major part 
of the material sold from the Department of Manual Training. 

No educational consideration was sacrificed. On the contrary, 
there were distinct gains for education. The enthusiasm and freedom 
in the workrooms elicited comment from every visitor. Under the 
direction of the Supervisor, the members of the Manual Training 
Department worked out the program. Not only for the material re¬ 
sults obtained, but for the educational values accruing to children in 
making them, all the members of this department are deserving of the 
greatest praise. 

ALBERT SHIELS. 


Statement by the Assistant 
Supervisor: 

The problem of toy making forms a part of a large industrial 
activity that will rapidly increase in the next few years. There are 
great opportunities open to the schools these days for the modeling 
of ideas of culture and design in the minds of the growing children 
and the parents as well, in the kind of toys made in the schools and 
played with in the homes. The toys will be “American Made.” We 
should strive to interest good designers and inventors in the better¬ 
ment of toys. 

There are many features of this industry that are very broad 
outside the constructive process. The color must be chosen that will 
attract buyers, the surfaces must be painted so as to give a finished 
appearance, and this applies, not only to toymaking, but to all com¬ 
mercial output from the other great industries. The more one studies 
the problems of toymaking, the more he will realize that there is a 
great future for the industry and that we must have a great part in it. 
This is one example of what we mean by keeping up with the prog¬ 
ress of industrial life in our educational outlook. 

The work in toy making started in the Los Angeles schools some 
eight or ten years ago, and although we did not dream of such de¬ 
velopments, the work has been steadily growing, and with the teachers 


/ 



6 


American School Toys 


co-operating, many creditable toys of commercial value have been 
produced. 

Special problems appear in the manual training rooms that are 
different from the regular factory operations, such as, handling paints 
in small quantities and various colors, kinds of brushes, their use, 
cleaning and general care, simplicity of mixing colors, and many other 
problems that have been considered during the last few years. 

Mr. Kunou has successfully striven to organize the toy making 
in the same careful way the general bench work has been developed; 
he has drawn charts, conducted teachers’ classes for instruction, in 
which actual work was presented and carried out, all, to further the 
plan for the good of the children of our city. 

After fourteen years in the Manual Training office with Mr. 
Kunou, I am glad to make these statements regarding this valuable 
addition to the manual training work. 

CHAS. M. MILLER 
Ass’t Supervisor Manual Training 
Los Angeles City Schools 


Statement by the Author: 

The educational and practical value of toys and useful novelties 
as parts of manual training courses in the schools has engaged the 
attention of the author for many years. During the war it became 
necessary to enlist the schools in the service of the country. For 
this purpose the Superintendent of Schools instituted the reorganiza¬ 
tion of the courses of study in the schools of Los Angeles which had 
for its aim the introduction of features of work that would meet 
material needs without sacrificing educational values in the schools. 
It was this reorganization that inspired the larger efforts which dem¬ 
onstrated the possibilities and values of the kind of manual training 
work herein presented. It is now a matter of national record how the 
largest production^ of school-made toys and other articles ever at" 
tempted was successfully carried out in 1917 and 1918. The Bazaar 
at which these articles were sold yielded a large sum which was 
turned over to the local Red Cross Chapter. But above all, it was the 
discovery of new values in manual training work which is the inherit¬ 
ance of these war work efforts. The author acknowledges the serv¬ 
ices of Manual Training Teachers and Pupils, whose patriotism and 
skill made the work herein described possible. 


Los'Angeles, Calif., r 1919. 


C. A. KUNOU. 


AMERICAN SCHOOL TOYS 


The educational influence of toys upon the children is at present 
not so generally appreciated as might be expected. There is a time 
coming soon, however, when people will endeavor to give toys to 
children for a far more comprehensive purpose than mere amusement. 
It is a question whether the happiness, contentment and interest dis¬ 
played by the child in the possession of, and activities with his toys, is 
really a state of play or amusement, in the sense the word play is at 
present accepted; or whether it is a state of actuation in which mo¬ 
tives and habits of impelling force are being formed to function later 
in the child’s life. 

If the sense of this question is clear, is it not worth while to call 
attention to the significance and true meaning of toys and their in¬ 
fluence upon children’s lives? In this connection other questions pre¬ 
sent themselves concerning the kind of toys, their character and pur¬ 
pose, whether they are artistically or poorly made. Not the least im¬ 
portant question is whether children should be taught to make toys, 
when they are old enough to do so. 

The answers to all these questions ought surely no longer be left 
solely to money-getting manufacturers of cheap and questionable 
toys. The schools will undoubtedly realize their responsibilities along 
this line and recognize the potential nature of toys as means of educa¬ 
tion. They will take hold of this important feature of child activity 
and thus seek to bring to light the truth about toys. It is safe to say 
that toys should be made not so much for the purpose of furnishing 
undirected occupation and mere amusement to children for “keeping 
them quiet” and “out of mischief, etc.,” but rather for the purpose of 
affording instruction and development. It is also proper to state that 
in their “make up” and in their instructive and play qualities, toys 
should express and emphasize national ideals. 

Viewed in this light, toy making seems to be a matter of no mean 
importance, and one which presents an unlimited field for practical 
and educational explorations and discoveries. This is the author’s 
conviction, and to this end he desires to contribute his share. 


The Bazaar Idea 

In some European cities permanent expositions of handwork 
made by school children are maintained. At the Bazaars—as these 
displays are sometimes called—the children’s products are on sale. 
These Bazaars are very popular places and are; patronized by the best 
people. When the articles are sold, part of the price paid is deducted 
for the upkeep of the place and for sales services. The remainder is 
remitted to the children who made the articles. These Bazaars are 
part of the scheme of the practical art education of the people, and 
exert an inspiring influence in raising the standard of children’s hand¬ 
work to the point of being marketable. If this is a good practice in 
these older communities, is it not worth while to adopt the Bazaar 
idea in the United States? Cannot it be made the means by which the 
latent talent among the American school children may be discovered 
and unfolded in a practical way, especially now that there is a general 
need for domestic-trained designers in the industrial arts? Many of 
the efforts in the schools during the war were along these lines and 
they were surely successful and effective. 

In what grades can this work be successfully done? 

During the past ten or twelve years, toy making has been a suc¬ 
cessful and interesting part of the manual training course in the Los 
Angeles schools. The work has been a considerable factor in the 
attainment of educational and practical results. The simpler projects 
have been started in the four-a and fifth grades, and the more difficult 
and complex designs and color schemes have been worked out by 
sixth and seventh grade pupils. 

Rockers, chairs, tables, etc., and novelties for use in the nursery 
are excellent problems for seventh and eighth grades. Girls and boys 
alike can do this work well, for the reason that it calls into play their 
imagination as nothing else will. 

Americanization of Toys * 

Every toy and article made in the schools should be stamped or 
labeled. In Los Angeles rubber stamps are used and the toys bear 
the legend “Made in Los Angeles School” or “Made in America.” 


7 


8 


American School Toys 



A Class of Toy Makers at Work. 


Claim of Originality 

The making of toys is not new. The author, however, claims 
without RESERVE, that he originated the kind of toy making herein 
described in the schools of Los Angeles, and so far as he knows in 
schools anywhere. The first charts for teachers’ instructions drawn 
by him were presented to the manual training teachers of Los Angeles 
city schools at a meeting during the school year 1907-1908. 

General Purposes 

The purposes of toy making are as follows: 

First:—To practicalize manual training work in the schools by 
raising the educational and artistic qualities of articles made in the 
shops to marketable standards. 

Second:—To enable every child to make toys and other things of 


salable quality, “learning and earning” both in school and at home and 
thereby fostering a national industry. 

Toys are practical articles. “Vogue” articles, or useful novelties, 
are not toys, but they are objects which have various practical uses. 
The designs of these toys and articles are characterized by a freedom 
from adherence to accepted styles. If properly and freely designed, 
these toys ar.d articles revive national art instincts; they express 
freedom in design and color and embody humor, caricature, quaint¬ 
ness, individuality, joy and art. 

The field from which to design such toys and articles is infinite. 
The educational possibilities and practical results are equally not cal¬ 
culable. The American people possess just the qualities which enable 
them to find endless expression in this kind of work. 

The material provided in the plates in this book consists of: 
First, Painted Wood Toys; Second, Painted novelties, or “Vogue” 
articles of wood. 

The Painted Wood Toys are of two classes: 



Africa—Asia—Europe—Toy Makers All. 
























The Design of Toys 


9 


Types of Toys 

1. Stationary Toys made by combining two or more pieces of 
material glued, nailed and screwed together, and pleasingly colored or 
painted. 

2. Mechanical Toys. In this class are the toys which “go” and 
which are built upon some mechanical principle. This is exemplified 
in rockers and in the carts with wheel and axle, which have been 
evolved from the stationary toys. 

How to Pick Motifs 

The toys may be “drawn freehand.” Any pictorial or linear de¬ 
sign from books, magazines or posters may be used. The motif may 
be cut out from the book or may be traced on tracing paper, which is 
transparent. This gives the exact copy of the NATURAL motif, 
for in most cases such motifs are natural. But the natural motif is 
not desirable as such. It must be changed to fit the material. The 
change is called conventionalization. 

To Fit the Design to the Material 

This process of conventionalization consists in simplifying and 
squaring the outlines of the motif in order that the design may ex¬ 
press the characteristic of the material in which it is executed. Man- 




Corner in a Red Cross Toy Shop. 


ual training teachers will find this kind of procedure one of the secrets 
in successful modern manual training work. It is not the cubist 
method. Motifs for stationary toys may be used for moving toys, 
and practically any stationary or statuary toy may be made into a 
moving toy, by attaching wheels to its base, or otherwise making it 
GO. The conventionalizing of toy designs and the selection of color 
schemes give splendid opportunity for closely correlating drawing 
and manual training. Children produce readily motifs for their own 
conventionalized drawings and also color schemes. 

Transferring Pattern to Wood 

The pattern may be transferred to the wood by any one of the 
following three methods: 

1. Place carbon paper on the wood, and the pattern on top of 
the carbon paper, fastening it with thumb tacks. Then trace the out¬ 
line with a pencil. 


A School Toy Bazaar. 























10 


COP/NG OR SCROLL SR W/NG 

SKETCHES E HO W/NG POSITION OF COPING SAW AND COPING SAWTABLE WHILE CUTTING OUT 

TOY 

IN EACH SKETCH THE RUPlPJ CHIN IS ABOUT 6‘ORG ABOVE THE WORK ENABLING THE WORK EH 

TO BLOW OFF DUST TO CEEAR THE LINE 



STANDING POSITION 



Plate 1. Positions of Pupils in Using Coping Saw. 


















































Making 


2. Paste the picture or pattern on the wood. When dry cut out 
the figures. 

3. Trace on thick paper and cut out a template, then trace with 
a pencil around the edges, of the template. These templates, if cor¬ 
rectly made, are permanent patterns and may be used for a long time 
before they are worn out. This is the best method for schoolwork 
because it is practical under all usual school conditions. 

How to Cut out Toys 

The toys are cut out with coping saws. For working comfort¬ 
ably and effectively, each child must have a saw jack or an adjustable 
saw table. The adjustable saw table is placed in the bench vise. The 
child may sit or stand as he prefers. In either case the saw table 
should be adjusted so that the pupil’s position is comfortable and 
natural. The piece of work should not be more than six inches below 
his chin. This insures a restful position in which the pupil does not 


WORKING DRAWING OK COPING 'SAWTA&LEL 
KOR TOY MAKING 



Details of Saw Table. 


ior Toys 


11 



Typical Animal Toys. 

tire quickly. Fatigue is the main cause of breaking pieces. The pupil 
is also enabled to “blow off” the saw dust to keep the line “clear.” 

Making Bases 

The design and construction of bases is important because a poor 
base spoils the toy. The bases should be stationary in design, for 
statuary toys. A base is made of at least two pieces, one overlapping 
the other. It should be square, oblong or round, as the case requires 
or personal preference dictates. Strips of *4" an d 7 /s" stock are 
prepared and from these the required lengths are cut. This sawing 
off is done with the back saw in small mitre boxes made for the pur¬ 
pose. The dimensions of these mitre boxes are 1" deep, 2” wide in¬ 
side, and 12” long. It is essential to have “fresh” cuts in the mitre 
box, insuring “square cuts” and cut “to line” and “to finish.” There 
should be no planing or filing. 

The upper piece of the base is usually thinner than the lower. 
For small toys *4” stock is used for upper and J4" stock for lower 
part. Larger toys require a combination of *4” and 7 /%" stock respec¬ 
tively for upper and lower parts to make a more substantial base of 
massive effect. The extension of the lower piece is equal to the thick¬ 
ness of the upper piece. The observance of this rule gives a certain 
character to the work. 

































12 



Suggestions for Automobile Toys. 

Assembling Toys 

After the toy and base pieces have been cut, the assembling proc¬ 
ess logically foliows. First, place the toy in a vise, “feet up,” and 
put glue on the contact points. Second, nail the upper piece of the 
base to the body of the toy, using yy or 1" brads as required. Third, 
then turn over, apply glue and nail the toy to the thick base, using 
escutcheon pins, one pin in each end. Sandpaper the rough parts and 
the woodwork is finished. 

Hew to the Line 

In cutting out the contours of figures with the coping saw “cut 
on the line” and “cut to finish.” Do no filing on the edge work. In 
cutting off base pieces in the mitre box, cut on the side of line and 
“cut to finish.” There should be no block planing. 

Painting 

Painting, including enameling, is one of the most valuable topics 
to teach in manual training courses. It belongs there. It is easy to 
teae'h and is fascinating, educational and practical. By it pupils can 
be taught plain and practical color schemes, such as are used and ac¬ 
cepted in the industrial arts everywhere. 

The promiscuous use of all sorts of color by pupils in their work 
is an error that should not be tolerated. The right teaching of color 
reveals the laws and principles of color and demonstrates to the pupils 
that their work must be done accordingly. Then comes the revelation 
that “it works” and presently the problems “take.” And this is the 
secret underlying success in all manual training teaching. 


School Toys 


Coloring the Toys 

The coloring of toys consists of two parts: 1. The giving of a 
first or undercoat; 2. The enameling. 

The Primer or First Coat 

All toys must be given a first coat of paint called the primer or 
undercoat. When a large number of toys is made, the dipping process 
is the quickest. This, however, requires more paint than the brush¬ 
ing method. The best method for ordinary school work is to paint 
the toys. For the first coat use ready-made white lead or a white 
flat paint. Brush it on with a flat sash tool brush, not less than 1"' 
wide. After the first coat has been applied, stand up the toys and let 
them dry. At the end of the drying period, sand the “roughs” with 
No. y 2 or No. 0 sandpaper. The flat tone surface will be found smooth 
and the toy is now ready for coloring. 

The Enameling 

The coloring of the toys is done with colored enamel. Toy 
enamel is made by mixing small portions of colors ground in oil, in 
white enamel, turning the white enamel into colored enamel or enam- 
eloid. The following typical operation will illustrate the best process: 

First, pour a teaspoonful of white enamel into a water color cup, 
such as are used in drawing and art work. 



Savings Banks. 



















The Finishing of Toys 


13 




Third. Now apply to a trial stick and keep mixing and trying 
until the desired tint or shade has been obtained. Then apply to the 
toy. Proceed in the same way with any color. 

Fourth. For drying let the toy stand at least 24 hours. The toy 
now shows a smooth, pleasant, glossy, colored surface. 

This is the typical process and is the same for whatever color 
used. It is the best method for children and beginners and yields 
good results. It may be used for finishing one toy or a hundred toys. 


Second, using a whittled wood spade, put a “speck” of say brown 
(color ground in oil) in the enamel. Stir and mix well until the white 
enamel has a very light tint. Put in another “speck” of brown and 
the enamel will become darker in shade. 


Stationary Toys. 

For features on small toys, use artists’ No. 10 flat brushes and 
artists’ No. 3 Round Sabre. For surface work use larger brushes. 

Another Method of Painting Toys 
Give the toys a first coat with flat tone. Then instead of using 
enamel for coloring, use lead colors ground in oil and mix the colors 
as before described. The toy so painted presents a dull or mat finish. 
The mat finish is considered artistic, but is not any more so than 
the enameled finish. If a gloss finish is desired on a toy painted 
with oil colors, apply a coat of varnish over the dull color and a bright 
finish will result. 

Still Another Method of Coloring and Finishing Toys 
Toys and “vogue” articles may be stained with wood dyes, water 
stain or water color. The finishing in this case is done by applying 
coats of shellac over the water stain. Should a better finish be de¬ 
sired, apply a coat of varnish over the shellac and a more glossy and 
permanent surface is obtained. Shellac often affects water color. 

Yet Another Method 

Use colored enamels (ready made) and apply two coats. Colored 
enamels are more expensive and their use prevents the teaching of 


Some Useful Novelties. 


Mass and Dot Painting 

Natural details and linear effects should be avoided. Conven¬ 
tionalize the eyes, ears, mouths, etc., using the point of a small brush 
or a toothpick for “picking up” color and “dotting” it on. 























14 


American School Toys 


color mixing. The author does not ordinarily approve of the use of 
ready made stains in finishing, nor the use of colored enamels in toy- 
work because the children should be taught to mix the colors. 

Color Schemes 

There are many color schemes. The dominant harmony herein 
described is not only easily applicable, but it is also a fundamental 
color scheme. It is used and accepted in the industrial arts every¬ 
where. Frequently it is called two-tone or three-tone color. Thus 
there are two-tone and three-tone rugs in the market. It is the name 
applied to the use of TINTS and SHADES of ONE color. The 
skilled use of delicate and related tints and shades of one color is a 
high attainment in industrial art. 

In color language, color is called HUE. STANDARD COLOR 
paints are those which are manufactured to resemble, so nearly as pos¬ 
sible, the theoretical spectral colors. They are violet, blue, green, 
yellow, orange and red. There is light, medium and dark of each. 
In paints these colors are seldom used in their original strength and 
purity. There is a process to go through, the process of mixing and 
shading: 

First:—When a hue, different from any of the standard colors is 
desired, it is obtained by mixing two or more different paints. 

Second:—Black and white paints are used to make TINTS and 
SHADES of colors. White is used more frequently than black. 



G : rls Can Make Toys as Successfully as Boys. 





Corner in a School Bazaar. 


The list of colors, pigments and proportions presented in the 
table below, serves to illustrate how to obtain colors or hues by mix¬ 
tures of paints. The production of a given shade of color is not due 
to chance trials, nor does it depend altogether upon the artistic color 
sense of the painter. It depends more upon a law of proportions 'of 
mixtures. For example, dark brown, is obtained by mixing red with 
yellow, and shading with black. Assuming that this shade of brown 
has been obtained by mixing three parts of red, two parts of yellow 
and one part of black, the same shade will always be obtained by 
these proportions, provided the same kinds of standard paints, or 
pigments, are used. 

But if a hundred pupils mix paint, each using different propor¬ 
tions, many shades of brown are obtained and while the principle 
is the same, the shades of brown vary according to the color sense 
of the individuals. To arrive at this state in which each pupil can 
“try out” with different proportions to obtain tints and shades of 
color, begin by teaching the principle—the—law—that underlies the 
process. This is a revelationary method. In mixing paints, no matter 


















Color Balance on Toys 


15 


how dark the shade desired, it must not be shaded TOO DARK" or be 
made MUDDY. The color of it must show—a rule that may not be 
violated. 

How To Make Tint 

To continue the illustration, suppose the shade of brown has 
been obtained. The'next step is the making of tints. TINT is the 
SHADE attenuated with white paint. In color language it is the 
addition of light to the color. The process is this: In a small quan¬ 
tity of white paint or enamel, as the case may require, put a speck of 
the brown. The white is now affected by the brown and is a 
NEUTRAL TINT of that color. By putting in more brown, a dark¬ 
er TINT or SHADE is obtained. In this way many tints of the 
same color may be obtained. 

The rule is: First, To make a TINT, put white into the color. 
Second, To make a SHADE, put color into the white paint or into 
white enamel. 

All tints and shades being of the same basic color, are related, 
and differ only in a ratio of light and dark; and when properly bal¬ 
anced in their application, result always in plain, correct, harmonious 
and pleasing color schemes. 

This is considered the typical process in the use of any color, 
in the production of a two-tone or three-tone color scheme for toys. 



Three of a Kind. 


There are many other colors, other mixtures and proportions than 
the few enumerated in this list. In fact, the color field has no limita¬ 
tions. This list is presented for the purpose of showing the process 
of mixing paints to obtain colors. 

Color Balance on Toys 


No, 

1 

2 

3 

4 

5 

6 

7 

8 
9 

10 

11 

12 

13 

14 

15 

16 
17 


Proportions and pigments used in mixing color 


Color 

Terra Cotta (Red) 
Terra Cotta (Brown) 
Olive Green 
Dark Green 
Dark Brown 
Chocolate Brown 
Citrine 
Wine Red 
Gray (Bluish) 

Drab (Soldier) 

Purple 

Violet 

Gray 

Russet 

Light Orange 
Dark Violet 
Blue Green 


Mixtures and Proportions 
1 yellow, 1 dark red, 2 white. 

1 yellow, 1 burnt sienna, 2 white. 

Yellow shades with black. 

5 chr. green, 1 black, 1 B. umber. 

1 red, 2 yellow, 1 black. 

Vermilion, shaded with B. umber. 

Red and yellow shaded with green. 
Vermilion, shaded with black. 

1 blue, 1 black, 9 white. 

1 B. sienna, 1 yellow, 2 green, 1 white. 

3 red, 2 blue, 3 white. 

2 red, 3 blue, 3 white. 

2 red, 3 green, add white. 

3 red, 2 yellow, 1 blue. 

2 yellow, 1 red, tone with white enamel. 

2 cobalt blue, 1 vermilion, add varnish. 

1 cobalt blue, 1 Chr. green, M., add varnish. 


In a two-tone or three-tone color scheme, (dominant harmony) 
balance is secured by proper proportions of tints and shades as ap¬ 
plied on the objects. 

The following rules will prove helpful: 

First, There must be neutral background surface on the toy. 

Second, There must be decorative elements or features standing 
out by contrast either in light or dark of same color on the back¬ 
ground. The determinate method of application of the colored enamel 
is: 

a. Apply the neutral tint over the whole toy, including the base. 
Let dry. 

b. Paint eyes, ears, wings, feet, etc., in a dark shade. Let dry. 

c. “COME BACK” and paint the base of the toy in the dark 
shade of the same color. This gives contrast and makes the base and 




16 


American School Toys 


other features stand out from the background. The base should, as 
a rule, be painted last so that the toy can be handled while being 
painted. Thus, properly proportioned, these spots and masses of 
dark shade balance, and result in a harmoniously and correctly paint¬ 
ed toy. 

Following is a method of using ONLY ONE undercoat and only 
ONE coat of colored enamel over it, without producing STREAKI¬ 
NESS: 

If white undercoat is used and only one coat of colored enamel 
is applied over it, the surface is likely to be STREAKY. The appli¬ 


cation of a second coat of colored enamel would remedy this; but 
that means more enamel, more work and an increase of cost. There¬ 
fore, determine the color scheme beforehand and put some of the 
color in the undercoat. In other words, if the color of the toy is to 
be bluish, put blue in the undercoat. Because of the agreement be¬ 
tween the enamel and the undercoat, no STREAKS will show, if 
only one coat of colored enamel is applied. In the production of high¬ 
er class ware, more than one coat of enamel is, of course, necessary. 
But while the work here described is of an elementary character, yet 
the process is typical and fundamental. 



kL 




Some Toy Ships. 













Designs for 


AMERICAN SCHOOL TOYS 











































19 



Plate 2. Simple Bases. (One-half Scale.) 





































































20 



ACCELERATED 



TYPE5 OF BR5F5 FOR TOYS 



ROCKING BASES 


MOTION RETARDED MOTION 


> 

) 

! 

< 

V /-7 


1 

1 

i 

1 




_ 






= /in . 


Plate 3. Complex Bases for Toys. (One-half Scale.) 










































































































21 



Plate 4. Horse. 




























































































22 


QC 

o 

£ 





^ N\ 
























TIGER 



Plate 6. Tiger. 




























24 



\ 


Plate 7. Mountain Goat (Front View). 










































































25 


m 


k 

l Q: 
9 m 


<u 


k 

Qc 

(V 3 


* 

£ 


<*: 

5: 

k 


2 

i 

k 

k» 

* 

* 

k 



Plate 8. Mountain Goat. 

















































DOG 


26 



Plate 9. Dog. 









































































27 



0 


Plate 10. Clown. 






































28 


“1 




Plate 11. Assembly of Clown and Chicken on Wheels. 








































































29 



1? OstrirVi 




































'azzM+Q” ■= / ° 


30 



Plate 13. Indian. 


























































































































31 


TOY FURNITURE 
BED 




Plate 14. Toy Bed Stead. 






























32 


TOY FURNITURE SET 
CHFlR 




SPE dFI CFJ TION 
Tf'sTOCK- SOFT WOOO 

^ 0RRDJS POR/VR/JL./NG 
/ COAT or UNDBRC.O HT P/7/NT 

/ COR7 /(/OR Y ENAMEL 
L.//VE W/TH NEUTRAL. GREEN, 

BLUE OR PINK 



Plate IS. Toy Chair. 

















33 


TOY 


- SPECIFICATION- 


FURN! TURE 
ROCKER 


STOCK 


sorr wood 


% BRADS. 


SIDE OF ROCKER 
MAKE TWO OF THIS 



ASSEMBLE PIECES. 

/ COAT OF ORDER COPT PAINT. 
I COAT H/ORY ENAMEL. 

LINE WITH NEUTRAL GREER, 
BLUE OR PINK. 



BACK OF ROCKER. 


Plate 16. Toy Rocker. 
















34 


TOY FURN ITURE^ET 
TABLE 




SPEC/ F/CATION 

A 

4 STOCK - SOFT MOOD 



/COAT OF UNOERC Of\ T PAINT 
/ COAT IVORY ENAMEL 
LINE W/TH NEUTRAL GREEN 
BLUE OR P!Nk\ . 




Plate 17. Toy Table. 


















































NURSE 


35 



Plate 18 . Soldier—Red Cross Nurse. 
















































































































ROCK/fs/G TOYC 
































37 



Plate 20. Rocking Hen and Rooster. 














38 


SWAN ROCKER 
rccelerrtED MOTION 

— \ in. 



END VIEW 


Plate 20a. Swan Rocker. 

























Sk/ftN rocker 



/ in. 


Plate 20b. Swan Rocker. 


39 









































DUCK CfiRT 



Plate 21. Duck Cart. 

















































































ROCKING MORSE 



Plate 22. Horse. 






































BE:/l R ON WHEELS 



Plate 23. Bear. 






































































































43 



Plate 24. Elephant on Wheels. 




































































































44 


J) U/fiN C PR1~ 



1 = l An. 


( 


A 












'/// 


— / 


r\ 




) 




Plate 25. Swan Cart. 












































































J 


tr 




Plate 26. Chicken Cart. 


45 


OtiICKEN CRQT 
4 JCfU-E- 


































































































46 



BEAR CART 
i'jCflLE 



Plate 27. Bear Cart. 
















































47 


SN/1N ON WHEELS 





Plate 28. Swan on Wheels. 

















































































HALF S/ZB 



Plate 29. Cart. 



















































49 


E/ON OA/ WHEELS 



Plate 30. Lion on Wheels. 






















































































































50 


£rX/=/?£fS IVAGOAJ 




Plate 31. Express Wagon. 



























































51 



Plate 32. Automobile. 





















































52 



Plate 33. Hobby Horse. 



















53 


cz 


MECHANICAL TOY 
LOCOMOT IUE. 

MAKE BODY OF ENGINE FROM 
srocn. 

BLOCKS ARE NAILED TOGETHER 
AS SHOWN BY DOTTED LINES 




1 = /in 


Plate 34. Locomotive. 

















































Plate 35. Traveling Tumbling Clown. 
























































































55 



Plate 36. Tumbling Clown. 

































































































































56 


ftNIMKL TOY 
MOVERS LE LIMBS 




Plate 37. Camel. 



























57 


/7/V/A7/?Z_ T’OY 




Plate 38. Dog. 






























7=>RPER WE/CRT 


58 



Plate 39. Duck Paper Weight. 

























































59 


RED CROSJ DOG 
PR PER WEIGHT 



Plate 40. Paper Weights. 



































II 






on 


•$ 

I 1 




Plate 41. Policeman Candle Holder. 













































































































































































































































































































PrtPER WEIGHT 




Plate 44. Cat Paper Weight. 








Plate 45. Candle Holder or Flag Staff. 





































SflV/NGS DEPOSITORY 


65 




Plate 46. Savings Bank. 














































































-BANK- 


66 




r- ^/ 


' 

r\ 

J 

i 



























































67 


































































68 


- U. S. FLAG s TAFTS - 



Plate 49. Flag Staff. 



























































JE WING C OMBINA TJ ON 



N 

N, 

s 

"V* 








































nr- 

IZ£ 


70 



Plate 51. Detail of Scissors Holder. 

























































71 






Plate 52. Match Stands. 























































































































































